Directed by Elias Pabon Short Film Review by Annie Vincent A thoughtful exploration of the commitment and dedication of an athlete, Morales is a polished and professional short film from Elias Pabon. At the opening of the film, we’re introduced to Daniel Morales; clearly, a dedicated athlete, in the throws of training, which includes meditation on a beach, running even in snow, and hard grafting in the training ring. A flashback sees him competing in a professional ring and losing, before cutting back to his present, where the montage continues increasing in pace, showing his undeterred commitment to his sport, where every waking moment is about the right exercise, the right diet, the right training, the right mindset, as he prepares for his next international competition. This film is beautifully shot and carries all the hallmarks of a professional fight film. The smooth transition between present and past, coupled with the increased pace of the montages throughout, controls the intensity and impact of the action. The seamless moves between close ups and pan shots during the fight sequences and the subtle use of soundtrack throughout, takes us on the journey of this fighter, who lives and breathes this sport. The action sequences are also very realistic, being sourced from professional fighting clubs: no cheesy Rocky-style knock-out scenes here (though no offence is intended – the Rocky films are iconic for a reason). But, this film is about the reality of competitive sport and that reality is exciting enough. Sadly, what is lacking is the pace of narrative. It isn’t until Daniel’s post-fight interview that we’re really made aware of the exhausting journey he has been on until this point, and whilst all of the things that made this journey so tough for him were mentioned at points throughout the film, the choice of the short film genre has made that journey seem quick, with just a few bumps in the road. There needed to be more time to develop this uphill journey, and we needed to feel a greater sense of loss in his first competition, to really allow us to really appreciate his achievements at the end (though we do applaud the athlete’s dedication and commitment when we do see it). Overall, Morales is a well-shot sport film which, in production, choreography and soundtrack is worthy of a place within the genre – it is just a shame the narrative wasn’t given a little more screen time. #ShortFilmReviews #ShortFilms #AnnieVincent #Boxing #Fighting #EliasPabon

Directed by Christian Hutchins and Jacob Thompson Written by Jacob Thompson Starring Joseph Shaver, Hannah Tippit Short Film Review by Euan Franklin The student film is a unique form that encourages fear, trembling, and fun. The arrogance mixed with the youthful lack of experience gives us something deformed, unfinished – to the point where these become conventions. Accordingly, this new short film from co-directors Christian Hutchins and Jacob Thompson is about as conventional as they come. Not for Me follows John (Joseph Shaver), a twentysomething delivery-boy with dark and uncomfortable dreams, as he ponders his recent break-up with girlfriend Amy (Hannah Tippit). Moving through his confusing reality, we begin to understand it. The film starts off delving into that film-school surrealism filled with nightmares, people in white masks, and depthless internal imagery (specifically, a rose: symbolising a lost, clichéd love). John moves from dream to dream, constantly questioning what’s real and what’s not without much conflict – the white masks float around, suggesting a wet threat, but never seem to harm him in any way. It’s like watching A Nightmare on Elm Street without Freddy Krueger. But it’s not long before this narrative is abandoned for an explanatory montage detailing the history of John’s relationship with Amy. At first, it feels like a innovative imitation of the long step into the past Emmanuelle Riva takes in Hiroshima mon amour – but, when considering the numerous imperfections within the rest of the film, it’s clear this is a pool the filmmakers have accidentally tripped in to. It’s an intriguing path to take, particularly since surreal movies don’t often like to visit characters – they’re more interested in moods – but there’s not enough development or realisation here to be engaged. Shaver and Tippit do the best they can with the material they’ve been given, and their performances are the most convincing aspects of the film – especially Tippit, whose potential is regrettably reduced. There are technical imperfections a-plenty, though not as horrific as usual. The interior cinematography is mostly adequate with fairly functional lighting, even if the compositions don’t feel motivated by much, but the exteriors are executed by cinematographers who don’t know how to work in natural light. The sound is also repeatedly bad: Hutchins and Thompson clearly have no confidence in their audio abilities or resources (having taken over the camera and editing departments), restricting the dialogue to nauseating clichés and using music to cover up their lack of initiative. However, this film does feel different from other student shorts. It’s clear that Thompson, in his screenplay, had clear characters in mind and wanted to explore them – perhaps in a more psychological style. But he struggles in deciding which direction to take. The connection between the nightmares and the break-up tie with the image of the rose, but there’s nothing else gluing the two acts together. White-masked night-terrors don’t tell us anything about the characters, only that the writer wanted someone to watch and say: “ohhh, alienation, the unknown… how deep, how profound!” Not for Me is another student mistake-project, which Hutchins and Thompson should study to improve their future movies. Although the obvious excitement to experiment is fun to watch, both directors will watch this in five years and cringe with embarrassment. Let’s hope they arrive at these realisations as early as possible and grow up out of the student-film limbo, where many are still permanently stuck. #NotforMe #UKFilmReview #ShortFIlms #ChristianHutchins #JacobThompson #JosephShaver #HannahTippit #Studentfilm #EuanFranklin #Surrealism #Dream #Nightmare

Directed by Project Kay Starring Sibani Khomo, Austin Paul, Thandolwethu Mhlathi, Ndumiso Njapha, Danniebelle Amos Short Film Review by Rachel Pullen Smoking weed for some is a relaxing time, where they can wind down and forget about the world and its problems, but for those of you who live with people who don’t agree with such recreational drugs, this calming past time can turn into a bit of drama, i.e. you gotta take that joint outside my friend. Stranger Danger is the story of four young men who must take their weed session away from the home due to the presence of one of the friend’s mother, on their trip to the park they pass an attractive woman standing alone on the corner and they all collectively begin to wonder what she is up to... This short is broken up with some impressive camera work and musical interludes, this could be due to a lack of script, spreading out the time with some slow mo and panning shots, or it could be to create an atmosphere of urban life which this film portrays very well. Project Kay allows camera work, colour and music to give the viewer a front row seat into the world of these young men, the environment is bold and wild, bustling yet inviting, we can really gain a sense of the community in which these friends live, helping to create a sense of character for each of the players without delving into any backstory. Stranger Danger is simple in regards to a storyline, this is a very basic buddy picture, with the interest of a stranger’s activities and smoking some weed being the driving force behind it, and although this short does not really have much to draw in the viewer in regards to action, storyline and drama, it is a very visually stimulating piece to watch. The actors all play their parts well; confident on screen we can be lost in the believability of the story and its surroundings; they all have a certain boyish charm to them which even those watching who don’t think smoking weed is a good idea, can’t help but like. Light-hearted and competent, this short carries itself strongly in the world of weed smoking buddy pictures, and let’s face it, there certainly are a lot of them out there. #ShortFilmReviews #ShortFilms #RachelPullen #ProjectKay #SibaniKhomo #AustinPaul #ThandolwethuMhlathi #NdumisoNjapha

★★ Directed by Scott Cooper Starring Christian Bale, Rosamund Pike, Scott Shepard, David Midthunder, Stephen Lang, Bill Camp, and Jesse Plemons Film Review by Niall Maggs Believe it or not, there is a difference between a slow burn and a bore. Hostiles is unfortunately the latter. Christian Bale is Joseph Blocker, a legendary Army captain who reluctantly escorts a Native American-Indian chief and his family through dangerous territory. Along the way, they meet Rosalie Quaid (Rosamund Pike) who goes along with the group, consisting of other soldiers. A small plot like this should take no longer than 105 minutes right? Well Hostiles clocks in at two hours and fifteen minutes, with about twenty minutes of filler which really shouldn’t be there. Most film critics will tell you the long runtime is perfect for slow, tense story building and masterful pacing… well Hostiles doesn’t have any of that. Sadly, it’s just boring. Christian Bale delivers one of his best performances in his entire career, he has some very memorable scenes – in a film that doesn’t actually have many, but every time he is on screen he shines. A scene near the beginning where he has just been given the mission brief blew me away. Not only is he intimidating in this scene, but you actually have sympathy for the character. You understand why he doesn’t want to escort the family as they were the enemy of the Americans. But he also sounds like the most ignorant man in the Army. This type of dynamic as really effective. The monologue Bale delivers in this scene is just chilling. Illustrating how he’s been trained to kill them, not save them. The way his character's attitude towards the Indians changes, is not only an important topic and theme of acceptance, racism and discrimination, but a heart warming scene that speaks volumes, when the chief and Captain accept each other as friends. Rosamund Pike is also fantastic, as always. Her character had witnessed her whole family massacred; the way she displays the madness that her character descends into is beyond incredible. There’s a sequence later on in the first act where she just breaks down. I was speechless by just how fantastic she was in that scene. Hostiles' cinematography by Masanobu Takayanagi was jaw-dropping. The wide shots of the vast landscape were breath taking, and it really created a sense of depth, isolation and loneliness. There are multiple shots like these that really pay homage to Westerns from the 50’s and 60’s like The Good, the Bad and the Ugly and Once Upon a Time in the West. You can tell director Scott Cooper took inspiration from masters like Sergio Leone, and has a lot of respect for them. Cooper's direction in Hostiles has a tendency to repeat everything that happens. They ride on horses, get attacked, sleep, repeat until the climax. This repetition gets very boring very fast, and it’s just lazy storytelling. The whole film feels like a rehash of Bone Tomahawk, with a very similar plot, structure, and lack of interesting characters. Even the score just feels straight out of other Western films. Originality is one of the weakest points in the movie, which is obviously a very important aspect in filmmaking. Most of the elements we see in Hostiles we’ve seen hundreds of times before; the final product just feels like a mash up of every other film in this genre. The pace is excruciatingly slow, that you just end up zoning out of crucial scenes because staring at the wall would most likely be more interesting. The conclusion is intense and suspenseful. For one of the few times in the film, you actually care about the outcome of the characters we’ve been following for the past two hours. The climax does in fact deliver, and it is extremely brutal and violent. But it doesn’t convey the intended effect, you just feel relief that something finally happens! With very weak direction, characters and overall substance, Hostiles is just a saddening disappointment. As stunning as it is and how great the performances were, when a couple got up and left toward the end of the film, I couldn’t help but think to myself that they had the right idea, and I should’ve done the same… #FilmReviews #TheatricalReleases #NiallMaggs #Western #ScottCooper #ChristianBale #RosamundPike #ScottShepard #DavidMidthunder #StephenLang #BillCamp #JessePlemons

Directed by Lee Bolton Starring Lindsay Bennett, Christopher Faith and Lucas Smith Short Film Review by Annie Vincent A tribute to his late mother, Charlie and Me follows a pilot, lost in space and her yearning to be back with her son Charlie, on Earth. Without power, guidance systems or thrusters, she is left with little to do except to reflect on her life and respond to the chiming of the small life-support pack in the space-pod, who comes to remind her of her son. Whilst the premise of Charlie and Me is touching and the performance by Lindsay Bennett supportive in this endeavour, plot and developed characterisation are lacking and as a result, audiences will struggle to invest in this film. The main issue is the script which has delivered us a female protagonist, lost in space, but with no explanation about why she is there. In her darkest moments, she speaks to Charlie as if he were there, telling him she would never have left if she didn’t have to. So why did she have to? Similarly, we have no idea why she is now lost in space. There is an indication that she has been hurt and the pod she’s travelling in, damaged. How and why: we don’t know. The pod’s automated message system keeps telling her that she will be rescued, but by whom, we are left to wonder. Other elements of the plot of Charlie and Me contribute to this lack of believability, including the power suddenly coming back on in the pod and veering her on to the right trajectory course, before shutting off again. And the relationship between our pilot and the metal box in the pod with her is seriously lacking in development. Within minutes of waking up she is attempting to play cards with it, telling it she is reminded of her son Charlie when it chimes. If the writer was aiming for a reboot of Tom Hanks’ relationship with Wilson the football, in Castaway, he has missed the mark somewhat, but only because not enough time has been given to developing this relationship. Lindsay Bennett manages to rescue the film in places. Whilst the script is hollow, she does her best to capture a mother’s grief and there are moments where we could be absorbed in her despair, if we weren’t already distracted by the plot holes. Similarly, some of the camerawork, particularly in the ‘pod’ scenes is excellent, with use of light and shadow effective and believable in capturing the pod’s movement through space. In places, the special effects take a turn back to the 1970s as a clunky, Star-Trekian-pod moves towards a computer animation of the Northern Lights and the pulsey, breathy, sci-fi soundtrack only strengthens this association. This is incongruous with the emotional journey we are meant to be experiencing with the protagonist and it may have been prudent to choose a genre and stick with it. There is a place for retro-space films with quirky relationships between man and machine, but layering over that with an exploration of a mother’s regret is unsettling and the audience is left unsure of how to respond. #ShortFilmReviews #ShortFilms #AnnieVincent #LeeBolton #LindsayBennett #ChristopherFaith #LucasSmith

★★ Directed by Adam Robitel Starring Lin Shaye, Leigh Whannell, Angus Sampson, Film Review by Hope Madden The Insidious franchise—like most horror series—began missing a step about two films in. The fourth installment, Insidious: The Last Key, starts off with promise, though. Thanks in large part to a heartbreaking performance from Ava Kolker, the newest Insidious opens with a gut punch of an origin story. By Episode 3, we’d abandoned the core family of the first two films to follow ghost hunters Elise (Lin Shaye), Tucker (Angus Sampson) and Specs (Leigh Whannell, who also writes the series). As this film opens, we glimpse the beginnings of Elise’s gift, the troubles it brings, and the demon she unwittingly released into the world. Though the minor characters are full-blown clichés, director Adam Robitel (The Taking of Deborah Logan) and his young actors create a compelling opening. Can Insidious: The Last Key deliver on that promise? No. Is it the tedious jump-scare-athon with none of the exquisite delivery we’ve come to expect from James Wan (director of the original Insidious, and producer here)? Is it the mid-film move from spectral thriller to police procedural and back? Is it the creepy attention Elise’s goofball sidekicks pay to her young and pretty nieces? Or is the problem that the whole cool sequence from the trailer—you know, with Melanie Gaydos and all the ghosts coming out of the jail cells?—is missing from the movie. Yes—it’s all that and more. The film is a jumbled mess of backstory and personal demons, clichés and uninspired monsters. All of this is shouldered by the veteran Shaye, who is, unfortunately, no lead. Shaye has proven herself to be a talented character actor in her 40+ years in film, often stealing scenes out from under high-paid leads. (Please see her in Kingpin and There’s Something About Mary, she’s genius.) But she doesn’t have the magnetism to carry a film, and The Last Key feels that much more untethered and pointless for the lack. Everything runs out of steam at some point. Here’s hoping this franchise has run out of doors to open. #movies #film #entertainment #moviereviews #HopeMadden #horror #InsidiousTheLastKey #horrormovies #sequels #LinShaye #LeighWhannell #JamesWan #AdamRobitel #AngusSampson #Insidious

★★★ Directed by Carlos Saldanha Starring John Cena, Bobby Cannavale, Kate McKinnon Film Review by Hope Madden I’m thrilled to announce that Ferdinand, the new animated feature from Carlos Saldanha (Ice Age, Rio), did not ruin my childhood. Whew! The story of a peaceful if enormous bull who’d far rather sniff flowers than fight matadors was my favorite book as a little kid, but to stretch these 32 or so sentences into a 90-minute feature-length animated film, there would have to be padding. I worried about the padding. Credit a team of six screenwriters for finding—for the most part—organic ways to develop the story. We meet Ferdinand as a young bull being raised with a handful of other bulls specifically to fight in the ring. Then we follow him on his adventure to freedom from the ring and back into the sights of the matador. That doesn’t mean the film never feels padded. It most definitely does. But a slew of vocal talents including John Cena, Bobby Cannavale and Kate McKinnon helps to keep the film afloat. Rarely laugh-out-loud funny, a bit bloated and a tad dark at times, Ferdinand still manages to entertain. It looks good, bears a social conscience and remains more or less true to the simple “be who you are” core that made Munro Leaf and Robert Lawson’s picture book so lovely. If you are looking for movie trailers, you can watch the Ferdinand trailer below... #Ferdinand #HopeMadden #movies #film #entertainment #moviereviews #filmreviews #animation #JohnCena #BobbyCannavale #KateMcKinnon

Filmmaker Interview by Chris Olson UK Film Review recently reviewed filmmaker Zach Zeman's indie feature film Hunters' Crossing. I was lucky enough to catch up with him to discuss his film, filmmaking in general, and how watching as many bad movies as you can is the perfect way to prepare yourself for making films. How would you describe your indie film, Hunters' Crossing, to a new audience? Hunters’ Crossing is a love story between two soulmates—or brothers—and their journey to take down a rival hunter. I like to describe it as an aggressively realistic comedy mockumentary about hunting that sets out to defy film and genre tropes. Why did you want to make this film and tell this story? I had this very strange idea for making this movie all the way back in 2012. I shot a short with my cousin and we played the main characters, but it was just absolutely terrible. I consider that to be an exercise in how to tell this story because by the time I expanded Hank (the main character of Hunters’ Crossing) and Trevor (secondary protagonist) and gave them life, things made a bit more sense narrative-wise. I am from Georgia, born and raised, and I’ve grown up around a lot of the culture that’s seen in Hunters’ Crossing. I don’t share the same opinions as these characters, however, I find a sort of beauty in their lifestyle and its simplicity. There’s a certain tenderness towards these characters despite my political views. They’re good people at heart, just often misguided by the political bandwagon. This film is sort of a simultaneous mockery and celebration of North Georgia culture, because I love it, but probably not for the same reasons as most people would. Did you have any particular influences in mind when approaching Hunters' Crossing? I would definitely say there was some strong influence from Christopher Guest’s film Best in Show. It’s always been my favorite of his and it sparked the original idea of trying out the mockumentary genre. When it came to the humor and style, however, it’s Monty Python. I have always enjoyed watching those guys interact with each other on camera and occasionally get into debates about the logistics of the situation. When it comes to the long pauses and awkwardness of it all, I’d like to pay tribute to Wes Anderson and how he can take a scene that has a huge build up or should have a more dramatic consequence and just plays it straight-faced and plain. Particularly the scene in The Grand Budapest Hotel where Ralph Fiennes is confronted by Edward Norton on suspicion of murder and a chase ensues—but the camera stays in one place. What was the budget? What were the hardest aspects of getting the film made and why? The budget was a very small $500. This was largely due to the fact that there were a plethora of resources already available. I’ve stockpiled props and costumes over the past six or so years so there was enough to choose from there and we already had the camera and locations, it was just a matter of feeding the cast and crew and transporting everyone to the shooting location. As far as difficult aspects of the production, I’d have to say a lot of it was scheduling. We all had jobs and some of us were going to be out of town for large spans of time, so managing to find a few days a week where everyone’s schedule would line up ended up really helping our situation. Although we had to use a Fake Shemp a few days, particularly in scenes with Clive, as Ryan’s schedule was the most booked and he rarely had free time to film. If there was a particular scene that was difficult to shoot, I would say it was when the characters attempt to hang Clive. (Spoilers!) We had it written in the script that Willis and Samantha were going to actually hang Clive and revel in the glory and madness of it all, just kind of going over the edge of sanity—kind of an homage to the end of Tarantino’s The Hateful Eight—but we had so much damn trouble getting a rope over a tree branch, which made us wonder: “How the hell did Goggins’ and Jackson’s characters at the end of The Hateful Eight get a rope over a beam in a twelve foot high rafter when they were both bedridden with mortal wounds?” We took the preposterous nature of that scene and just made it far more realistic in an anticlimactic way like a lot of the other scenes in the film. It really fit in with the story well. I never thought it would cut together though because it was the first scene we filmed and no one had really gotten into their characters yet. As a filmmaker in 2017, what advice would you give to others looking to start their own path? The best thing I found to improve as a filmmaker was to watch as many bad movies as possible. I mean bottom-of-the-barrel bad. You’ve got to go out of your way to find some independent movies that are just terrible. The best ones I’ve found are from the 80s and 90s and they show that anyone can make a movie. Watching these gave me some laughs and genuine pain from the low quality of these films, but they also taught me what not to do in making a movie and in terms of story. And if you want to make a movie and don’t really have any money, don’t let that stop you. Think about the resources already available and try to frame a movie around those. It’s best to also focus on the characters and the actors playing them because you won’t have the budget to afford spectacle, so the actors are going to be carrying the movie and making it worth watching. What aspects of the film industry would you change and why? I’m always hoping for proper representation and diversity in the movies. I love having people of colour and women of colour in a cast, but when their character is built out of being a person of colour, I get annoyed. Like in Wonder Woman, it had this incredible cast of supporting characters, but each one was attributed in character to a stereotype of their race. I would like to see a cast of characters that are just there and interacting with each other. What's next for you? I’m in production for a prequel to Hunters’ Crossing with Rieves Bowers (the dude who played Trevor) and my good friend and colleague, David Scherker. It’s not a mockumentary, but it focuses on Trevor and his relationship with his family—and his twin brother—before Trevor met Hank. There’s a new monster in this film too. It’s funny and scary and all sorts of weird. It’s also a play on the idea of cinematic universes and why everything suddenly needs to be a franchise or be connected in some absurd way. I’m hoping to attack a lot of prequel clichés and tropes. We shoot starting at the end of this month and we hope it goes well! What would you say if you were a dolphin? Something about going to space and fish. I didn’t read Hitchhikers’ Guide to the Galaxy so I don’t get that reference. #FilmmakerInterviews #Interviews #ChrisOlson #Filmmaking #ZachZeman #IndieFilms #FilmFeatures

★★★★ Directed by Ridley Scott Starring Michelle Williams, Christopher Plummer, Mark Wahlberg Film Review by George Wolf The eleventh-hour replacement of Kevin Spacey wasn't just a boldly genius play by legendary director Ridley Scott - it was the only play, a cinematic Hail Mary that elevates All the Money in the World as a curiosity, a statement and a filmgoing experience. Christopher Plummer steps in as the legendary J. Paul Getty, delivering a terrific, gravitas-rich performance that anchors Scott's dramatic retelling of events surrounding the 1973 kidnapping of Getty's teenaged grandson Paul (Charlie Plummer). Scott digs in to a meaty script from David Scarpa (adapting John Person's book) to deliver a highly engaging film filled with tension, insight, stellar performances and crackling relevance. As Paul's mother Gail Getty, Michelle Williams is award-worthy fantastic. Gail, no longer a "real" Getty after divorcing Paul's father, must negotiate with both the kidnappers and her former father-in-law for her son's safety, and Williams makes Gail's mix of frustration, desperation and disgust emotionally genuine. While refusing to pay the 17 million-dollar ransom, J. Paul enlists the help of former CIA agent Fletcher Chase (Mark Wahlberg) to recover his grandson. As the hunt intensifies, Scott gracefully balances the extremes on opposing sides of the boy's fate, each one consumed with profits and losses. Wahlberg again shows how effective he can be under a strong director, and Fletcher's search for Paul becomes a taut nail-biter while the elder Getty -"not just the richest man in the world but the richest man in the history of the world"- shells out millions on the black market for a masterpiece canvas. Getty's defense of his interest in things over people is just one of several passages from Scarpa that are weighty with resonance. His script is full of biting, memorable dialogue, such as Getty's explanation of an "abyss of freedom" that comes from extreme wealth, without ever succumbing to grand speechifying. The "erasing" of Spacey is incredibly seamless, but long after those headlines fade, All the Money in the World holds plenty of capital. As both a fascinating historical drama and a telling reminder of what we value, it's a film that can stand with the best of Scott's storied career. #RidleyScott #MichelleWilliams #MarkWahlberg #ChristophehrPlummer #KevinSpacey #GeorgeWolf #film #entertainment #filmreviews #basedontrueevents #movies

★★★★ Directed by Craig Gillespie Starring Margot Robbie, Allison Janney, Sebastian Stan, Paul Walter Hauser Film Review by George Wolf "There's no such thing as truth. Everyone has their own truth." That snappy piece of dialog is just one of the sharp edges I, Tonya uses to place a decades-old scandal right at the heart of an American cultural shift that feels mighty familiar. Director Craig Gillespie, armed with a whip-smart script and a stellar ensemble, comes at the Tonya Harding 1994 Olympic soap opera from the perfect side: all of them. The screenplay, a new career high for Steven Rogers (Hope Floats, Love the Coopers), breaks the fourth wall early and often, priming us for an array of "totally contradictory" testimony from these trailer-park super geniuses constantly pointing fingers at each other. As Harding, Margot Robbie is electric, relishing the chance at a meaty lead role and proving worthy of every second she's onscreen. We come to this film with any number of preconceived notions about Harding, so Robbie has to break through them and find the sympathetic layers. She does, playing Harding as an unapologetic fighter, clinging to a sport that doesn't want her while battling a cruel mother (certain Oscar nominee Alison Janney), an abusive husband in Jeff Gillooly (Sebastian Stan), an idiotic "bodyguard" with 007 delusions (Paul Walter Hauser) and eventually, a rabid public. Or, maybe she was an ungrateful daughter and a scheming wife, in on the plan to hobble rival Nancy Kerrigan and eager to play the victim at her first opportunity. Gillespie makes it a fascinating and darkly funny ride, with an undercurrent of bittersweet naivete. As the 1994 Winter Olympics get underway, we see Tonya's drama play out alongside the birth of reality television, the rise of tabloid journalism and the start of the O.J.Simpson tragedy. We would never be the same. I, Tonya embraces the surreal nature of this tale but never mocks or condescends, even in its most comical moments. There's poignancy here, too, plus tragedy nearly Greek in nature and a damn fine mix of real skating and visual trickery. Never mind that East German judge. I, Tonya deserves the podium. #movies #film #entertainment #filmreviews #moviereviews #GeorgeWolf #CraigGillespie #MargotRobbie #AllisonJanney #SebastianStan #PaulWalkerHauser #TonyaHarding #ITonya #basedontrureevents

★★★ Directed by Michael Gracey Starring Hugh Jackman, Zac Efron, Michelle Williams, Zendaya, Keala Settle Film Review by Hope Madden In so many ways, The Greatest Showman is a wildly inappropriate vision of the life of PT Barnum—a politician, spokesman for temperance, abolitionist and, above all things, an outsized promoter and self-promoter. He’d been all these things for decades before he dipped his toe into the circus industry, but what fun is that story? Let’s rewrite. We need romance, lessons, heartwarming children and resolvable, tidy drama. Barnum as a tot, working dirty-faced and split-shoed besides his father, tailoring for Dickensian clients and wages. But he has dreams. Big dreams. Yes, the film simplifies the actual story of Barnum’s life to its barest lessons-to-be-learned minimum. The oversimplification spills into the core conflict (of many) in the man’s actual history: his presentation and monetization of “human curiosities.” But maybe that’s where this movie is closest to the truth. It is selling you an enjoyable time, spinning your head with breathless set pieces, color, glamour, surprise, happiness. Sleight of hand. And at the same time selling the tale that, no matter how Barnum may have used these people for his own profit, this is really a story of empowerment. “Some critics might have even called this show a celebration of humanity,” says Barnum’s harshest critic, New York Herald writer James Gordon Bennett. As genuinely if superficially enjoyable as The Greatest Showman is, there is something unseemly in embracing so tidy a view. Still, Hugh Jackman—maybe the most charismatic performer in modern film—is in great voice in yet another big, big musical. His earnest likability and exuberance convince you to disregard your instincts on this film just as surely as his Barnum uses the same tactics to lure uncertain outcasts out of the shadows and onto the stage. Michelle Williams fares less well as Barnum’s wife Charity, saddled as she is with the bottomless devotion and forgiveness that is the mark of the underwritten spouse character. Rebecca Ferguson mines for emotional clarity in a small role and a magnetic Keala Settle is a natural fit for the heart and soul of Barnum’s “curiosities.” Director Michael Gracey, working from a script by Jenny Bicks and Bill Condon, crafts a Moulin Rouge-esque vision that transports you, which is appropriate when tackling the life of PT Barnum. It also works to convince you that all this—the spotlight, the manipulation, the exploitation, the laughter and the admiration—was the best possible thing for Barnum’s performers. Barnum might have liked that spin, too, but maybe that's the problem. Watch The Greatest Showman trailer below... #TheGreatestShowman #HughJackman #ZacEfron #HopeMadden #movies #film #entertainment #moviereviews #basedntrueevents #musicals

Directed by Sam Jones Starring George Somner, Olivia Barrowclough, Jarreau Benjamin Short Film Review by Andrew Young Following on from the festival success of the BFI-funded Lifeline, Manchester filmmaker Sam Jones, still a young and eye-catchingly prodigious talent, has returned with another compelling and visually audacious short. Big Night is an impressive look at underground drug culture through the events of one night in some dingy nightclub toilets. It showcases great skill across the board and indicates growth in Jones as a filmmaker, yet still remains a bit rough around the edges. Unlike the high-minded dystopian narrative of Lifeline, this short has a much leaner, more focussed plot. At just 10 minutes, much of it plays like one long scene, as young David, clearly not a man enjoying the pulsating beats of the club, tries to procure more drugs from sadistic dealer Creecher in an attempt to continue his escapism. He is a desperate character, somebody for whom party drugs have become more like I-need-these-to-forget-my-problems drugs. A sly Oliver Twist reference early on is indicative of the vulnerability he carries through the film. Unlike on Lifeline, Jones this time works from someone else’s script, namely the fantastic Kate Collins. Big on ideas and visually striking, Lifeline announced Jones’ talent but its weakness came in its occasionally clunky dialogue; this is a fault that has been rectified by the wise move of working with Collins. This is a short that stands out from the crowd in the way it revels in its words. It is a film that wants to have its characters talking because they are so damn good to listen to. This is mostly true of Creech, played by an electric Olivia Barrowclough. She spits and snarls her way through her confrontation with David, leaving some scorn in reserve for stuttering assistant Budgie. The script isn’t just a vehicle for clever dialogue, however, it also contains some interesting comment on the characters’ psyches. Most obvious is David’s struggle with drugs and the motivation behind it. Quite why David has ended up this way is not expanded upon, keeping the film tightly focussed in its short running time. However, the strong closing shots followed by a bold, simple title card hint at his wider life and the implications of the film. This is a “Big Night” not in the hedonistic sense, but a turning point in David’s wayward life. More interesting however, and something perhaps less obvious to explore, is Creecher’s mentality. It is both funny and chilling to watch her lecture David on the unsustainability of his lifestyle as if she is his mother or a responsible business owner. She appears to thrive on this power, lecturing and taunting David rather than ever actually caring about the money he owes her. But then, her revelling in power is disrupted as the initially timid Budgie tells her that she is being unrealistic. She needs David’s money but instead she is too focussed on her sadistic abuse to get it. This one moment does a lot to deepen the film and shift the audience’s viewpoint. The nasty drug dealer needs the money too – why? Maybe she has turned to it out of desperation, maybe her upbringing led her into it The Wire-style. Alternatively, or perhaps additionally, Creech forgets the value of money because she is having such a thrill playing with David. She too is an addict, high on power and abuse. At one point she points a knife at David but then swaps it for drugs, because she knows it will hurt him more; it is a cunning move in a game she so clearly wants to win. It is in these scenes, where Barrowclough is chewing the scenery and George Somner looks more and more desperate, stopping just short of a complete lack of inner steel, that the film fizzes the most. This is not just down to the script, however. Somner and Barrowclough give strong performances, continuing Jones’ liking of both finding and developing talented actors. These scenes are enthralling, too, for their visual skill. As we saw in Lifeline, Sam Jones has a confidence to his filmmaking that brings bold, memorable imagery to the screen. In these scenes of confrontation, he plays with light and framing and brings a kinetic style similar to Danny Boyle’s fellow drug-drama Trainspotting. The marriage of script and aesthetics here sees Jones in his element. Where the film falters somewhat, is as it moves on from its central conflict and into more surreal territory. It is without doubt and ambitious and impressively made staging of David’s headspace, but it slips into being a bit indulgent and unfocused. Jones works well with DP Adam Grasso and editor Pip Watkins to create a throbbing club and a film that is constantly visually exciting, particularly when combined with the efforts of William Chapman and Modl in the sound and music departments. Big Night never stops being both compelling and intriguing, but it is at its best when Jones’ flair is constrained to an extent. Nevertheless, this is a strong entry into the careers of all involved. Big Night is a thrilling film that also manages to make neat, complex comment on underground drug culture whilst positing an interesting angle on the psychology of a drug dealer. It may not be perfection, but the wit and invention of Kate Collins and Sam Jones shine through wonderfully. #ShortFilmReviews #ShortFilms #AndrewYoung #SamJones #GeorgeSomner #OliviaBarrowclough #JarreauBenjamin